Trouble In Mind

Ultimate Painting 'Green Lanes'

Trouble In Mind

Ultimate Painting 'Green Lanes'

“Green Lanes” is the second album from London-based band Ultimate Painting.

Formed as a loose collaboration by Jack Cooper (Mazes) & James Hoare (Veronica Falls) the project quickly turned into a full-fledged band in 2014 with the release of their s/t debut album on Trouble In Mind. That album received praise worldwide from NME, Pitchfork, Consequence of Sound & more & with “Green Lanes” the band is poised for more accolades.

The album is focused & cohesive, the result of two voices becoming one and each member ’s songs complimenting the other, carving out a distinct & unified voice as Ultimate Painting.

Slinking out of the gate, the first song “Kodiak” is an hummable future-classic with Cooper & Hoare’s guitars dancing around each other with ease. The licks & lyrics conjuring up images of Sixties California & Seventies New York; a picture of dark clouds on a sunny day. The rest of the album follows suit with the air y, lush harmonies of “Sweet Chris” & “Two From The Vault ” and even kicks up some dust with the chooglin’ “(I’ve Got The) Sanctioned Blues” and the manic ”Woken By Noises”.

While their s/t debut was all Cooper & Hoare, this time out, they are augmented by the addition of their live drummer Neil Robinson who provides propulsion on all but one of “Green Lanes”s tracks.

The album artwork was once again provided by Portland artist Bradley Kerl, who portrayed Hoare’s London flat & recording space chock full of the equipment used to record both the band’s albums casually tumbling toward the viewer. 2015 sees the band hitting the road again, with appearances at UK & European Festivals as well as a full US Tour in the fall in support of “Green Lanes”

C93 have dreamt a new album, Invocations Of Almost, using music from her FuturePast and her PastFuture, to accompany David Tibet’s art exhibition, Invocations Of Almost, which opens on March 9 at The Begovich Gallery, Fullerton, CA and lasts for around 2 months The CD version of Invocations Of Almost is 59-minutes long, as it is launched on David’s 59th BirthDay, March 5, whilst he is in LA for the official opening of his show on March 9. There will also be a vinyl LP edition, which sings a slightly shorter version, mixed specifically for the 12”. The music on Invocations Of Almost will be played on a continual loop in The Begovich Gallery whilst the exhibition is open.

London-based psychedelic stalwarts Josefin Öhrn + The Liberation are proud to reveal their third album 'Sacred Dreams' for Rocket Recordings. Continuing to dive into the deeper waters of experimentation, ‘Sacred Dreams’ is both a musically hefty amalgamation of reverb drenched space-rock and retro centric electronics, as well as an emotionally cathartic release for the band, marking a new direction and fresh approach.

Since their critically acclaimed album 'Mirage' was released, Josefin and writing partner Fredrik have relocated from Stockholm to London and have created a new Liberation around them - this new band consists of the powerful and intuitive assemblage of musicians; Maki (Go Team), Patrick C Smith (Eskimo Chain), Matt Loft (Lola Colt) and Ben Ellis, who’s worked with both Iggy Pop and Swervedriver.

‘Sacred Dreams’ was largely recorded at Press Play Studios (King Krule, Fat White Family, Yves Tumor, Stereolab, High Llamas and many others) run by Andy Ramsay of Stereolab, who also produced and even programmed his non synced drum machines adding a lot of inspiration to the album. ‘Scared Dreams’ invites you into the bands own dimensional soundscape, a world built with transcendental guitars, driving grooves and otherworldly, enchanting vocals, altogether seeped in layers of blissfully produced synths.

Opener and lead single ‘Feel The Sun’ encapsulates this new direction perfectly before the anthemic ‘I Can Feel It’ makes the bands intentions known. Elsewhere playful 80s electronics sit alongside a shoegaze sensibility effortlessly and amongst the textured flow of the LP emerge pop hooks like the infectiously bluesy ‘Baby Come On’.

Josefin tells us “This album comes out of a period of heartbreak, loss and dissolution, but also of deep love, warmth and beauty unveiled in the middle of it. A sacred dream, the way we see it, is not necessarily a golden fluffy cloud river, but instead also contains all the shadows that need to be seen and felt in order to drop what has to go in order to truly live. And the dissonance of such a dream may not be immediately apparent, let alone the meaning of it. In a way all of these tracks seem to emanate from that place where we have almost reached a new shore, or maybe we missed it and are headed somewhere else entirely, but there’s no way of telling until afterwards.”

The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow…

“The auteur of the subterranean lovesick blues.” Houston Press

Their first studio album since 2013’s ‘Defend Yourself’ and their first release with Fire Records, Lou Barlow, Jason Loewenstein and Bob D'Amico return with a smorgasbord of beautifully dysfunctional tunes harking back to their finest college rock anthems.

It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners.

Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth have announced plans to release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

“I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,”Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

Tracklisting:1. Datura's Crimson Veils 2. Exaltation of Larks 3. Cats on the Briar 4. The Colour of Poison 5. Descending Belladonna 6. She Rides an Air of Malevolence 7. Maidens Catafalque 8. An Unnatural Carousel 9. The Mandrake's Hymn 10. A Wretched Country of Dusk